The Austrian composer Arnold Schoenberg published four string quartets, distributed over his lifetime: String Quartet No. 1 in D minor, Opus 7 (1905), String Quartet No. 2 in F♯ minor, Op. 10 (1908), String Quartet No. 3, Op. 30 (1927), and the String Quartet No. 4, Op. 37 (1936). In addition to these, he wrote several other works for string quartet which were not published. The most notable was his early String Quartet in D major (1897). There was also a Presto in C major (c. 1895), a Scherzo in F major (1897), and later a Four-part Mirror Canon in A major (c. 1933). Finally, several string quartets exist in fragmentary form. These include String Quartet in F major (before 1897), String Quartet in D minor (1904), String Quartet in C major (after 1904), String Quartet Movement (1926), String Quartet (1926), String Quartet in C major (after 1927) and String Quartet No. 5 (1949). Schoenberg also wrote a Concerto for String Quartet and Orchestra in B♭ major (1933): a recomposition of a work by the Baroque composer George Frideric Handel.

This is a list of compositions for cello and piano. It includes sonatas as well as other pieces for cello and piano.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

The String Quartet No. 12 in F major, Op. 96 (B. 179), nicknamed the American Quartet, is the twelfth string quartet composed by Antonín Dvořák. It was written in 1893, during Dvořák's time in the United States. The quartet is one of the most popular in the chamber music repertoire.

The term string quartet is a type of musical composition or a group of four people who play the quartets. Many composers from the mid-18th century onwards wrote string quartets. The associated musical ensemble consists of two violinists, a violist, and a cellist. The string quartet was developed into its present form by the Austrian composer Joseph Haydn, whose works in the 1750s established the ensemble as a group of four more-or-less equal partners. Since that time, the string quartet has been considered a prestigious form; writing for four instruments with broadly similar characteristics both constrains and tests a composer. String quartet composition flourished in the Classical era, and Mozart, Beethoven and Schubert each wrote a number of them. Many Romantic and early-twentieth-century composers composed string quartets, including Mendelssohn, Schumann, Brahms, Dvořák, Janáček, and Debussy. There was a slight lull in string quartet composition later in the 19th century, but it received a resurgence in the 20th century, with the Second Viennese School, Bartók, Shostakovich, Babbitt, and Carter producing highly regarded examples of the genre, and it remains an important and refined musical form. The standard structure for a string quartet as established in the Classical era is four movements, with the first movement in sonata form, allegro, in the tonic key; a slow movement in a related key and a minuet and trio follow; and the fourth movement is often in rondo form or sonata rondo form, in the tonic key. Some string quartet ensembles play together for many years and become established and promoted as an entity in a manner similar to an instrumental soloist or an orchestra.

Among the fairly large repertoire for the standard piano trio (violin, cello, and piano) are the following works: Ordering is by surname of composer.

Heinrich Schenker (19 June 1868 – 14 January 1935) was an Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. His approach, now termed Schenkerian analysis, was most fully explained in a three-volume series, Neue musikalische Theorien und Phantasien (New Musical Theories and Phantasies), which included Harmony (1906), Counterpoint (1910; 1922), and Free Composition (1935). Born in Wiśniowczyk, Austrian Galicia, he studied law at University of Vienna and music at what is now the University of Music and Performing Arts Vienna where his teachers included Franz Krenn, Ernst Ludwig, Anton Bruckner, and Johann Nepomuk Fuchs. Despite his law degree, he focused primarily on a musical career following graduation, finding minimal success as a composer, conductor, and accompanist. After 1900 Schenker increasingly directed his efforts toward music theory, developing a systemic approach to analyze the underlying melodic and harmonic material of tonal music. His theories proposed the presence of fundamental structures (Ursatz) occurring in the background (Hintergrund) of compositions, which he illustrated with a variety of new specialized terms and notational methods. Schenker's view on race has come under scrutiny and criticism in the 21st century.

The String Quartet No. 2 in A minor, Op. 13, was composed by Felix Mendelssohn in 1827. Written when he was 18 years old, it was, despite its official number, Mendelssohn's first mature string quartet.

Ludwig van Beethoven's late string quartets are: Opus 127: String Quartet No. 12 in E♭ major (1825) Opus 130: String Quartet No. 13 in B♭ major (1825) Opus 131: String Quartet No. 14 in C♯ minor (1826) Opus 132: String Quartet No. 15 in A minor (1825) Opus 133: Große Fuge in B♭ major (1825; originally the finale to Op. 130; it also exists in a piano four-hands transcription, Op. 134) Opus 135: String Quartet No. 16 in F major (1826) These six works are Beethoven's last major completed compositions. Extremely complex and largely misunderstood by musicians and audiences of Beethoven's day, the late quartets are now widely considered to be among the greatest musical compositions of all time, and have inspired many later composers.

The Escher String Quartet is an American string quartet based in New York City, where they serve as Artists of the Chamber Music Society of Lincoln Center. Their name derives from the Dutch artist M. C. Escher.

Ludwig van Beethoven's late string quartets are: Opus 127: String Quartet No. 12 in E♭ major (1825) Opus 130: String Quartet No. 13 in B♭ major (1825) Opus 131: String Quartet No. 14 in C♯ minor (1826) Opus 132: String Quartet No. 15 in A minor (1825) Opus 133: Große Fuge in B♭ major (1825; originally the finale to Op. 130; it also exists in a piano four-hands transcription, Op. 134) Opus 135: String Quartet No. 16 in F major (1826) These six works are Beethoven's last major completed compositions. Extremely complex and largely misunderstood by musicians and audiences of Beethoven's day, the late quartets are now widely considered to be among the greatest musical compositions of all time, and have inspired many later composers.

Among the fairly large repertoire for the standard piano trio (violin, cello, and piano) are the following works: Ordering is by surname of composer.

A clarinet–cello–piano trio is a clarinet trio made up of one clarinet, one cello, and one piano, or the name of a piece written for such a group. This formation is similar to the classical piano trio except that the violin is replaced by the clarinet. The heterogeneity of timbre between clarinet and cello prevents their use as a block against the piano, but it offers many other musical possibilities. Long-lived trios (such as the Trio Montecino) are very rare, but the literature is performed by subsets of Pierrot lunaire and Quartet for the End of Time ensembles, such as Tashi, as well as by ad hoc groups.